• Korean Institute of Interior Design Journal
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• v.13 no.3
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• pp.179-186
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• 2004

The findings of this study indicate that intangible cultural properties are worth preservation and transmission and should be considered as very important as tangible cultural properties. If the studies of intangible cultural properties are continued focusing on their characteristics and formational system, they can be expressed more properly by adding new interactive elements to database and expressive requisites. New techniques introduced in this study are believed to provide people with most reasonable and developmental motives for expression of the existing intangible cultural properties. Concerning Korea's cultural properties centered on intangible cultural properties, information construction should be made with a new idea of information based on database from the previous studies. The result will be able to set an important factor to give wide publicity to our cultural identity, which is currently shown in the process of background communication, and serve as a foothold to deliver exact information to our descendants. The intangible cultural properties are our people's mental cultural heritage resources. If museums or initiator groups, which are organized to spread cultural heritages, can use them as the subjects of exhibition through information construction and visualization, it will function to maximize the educational effect of transmitting our national mental world. The development of digital environment will provide the optimum conditions and tools making it possible to visualize intangible forms and ideas in a virtual cyber space. Given these viewpoints, steady studies and efforts for the improvement of Korea's cultural image should be made in the way of intangible cultural properties as well as tangible ones. They start from the country's accurate appreciation of cultural properties and are embodied in systematic adjustment and relationship between interdependent elements.

• Journal of Conservation Science
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• v.27 no.1
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• pp.49-59
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• 2011

The damaged ceramics were repaired and restored thru various methods with various materials. The history of Ceramic repair and restoration has developed widening its areas from traditional stage utilizing applicable living material to the specified field that introduces new materials, new process methods and material analysis. Through investigations over the documents, artifacts and analysis, the period could be divided into natural material period in which uses the bonds extracted from the animals, plants and lime (prehistoric to Japanese domination period), Semi-artificial period in which mix natural material and synthetic resins such as "Jusabi"(Japanese domination period to 1970s.) and complete synthetic resin period in which introduces new materials and process methods in accordance with preservation standard (after 1980s).

• Cross-Cultural Studies
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• v.33
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• pp.95-120
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• 2013

This study is about small theaters in Paris which produced the theater of the avant-garde(or theatre of the absurd) in the 50s. Paris was at the center of astonishing passion by small theaters in terms of spectacle. Small theaters actively embraced young actors/actresses, theater troupe and playwrights who created a new way to express their plays. They were mostly obscure but showed talent and genius. So playwrights came from abroad such as E. Ionesco, S. Beckett, A. Adamov and others were able to create a new type of comedy and experience theatrical realization. On the other hand, a great many drama creators such as R. Blin, N. Bataille, J.-M. Serreau, J. $No{\ddot{e}}l$ and others appeared. We focused on studying about life of small theaters in Paris as mentioned earlier. The space of representation were limited. They were mostly about ridiculing of dramaturgy of comedy and theatrical realization. The substandard situations and conditions of small theaters fell far short of advantages of spectacle. Some of the theaters - Babylone, Noctambules, Nouveau Lancry, Quartier-latin - have not been able to survive up to this day. Other Theaters - Huchette and Poche-Montparnasse - have been able to last by performing creative activities. The theaters of the avant-garde are historic places of Drama Art. It is quite astonishing that some of the monuments did not last any longer. These were the places where La Cantatrice chauve by Ionesco and En attendant Godot by Beckett were premiered. When will they be restored to their original state? Meanwhile, the theater of Huchette have performed the comedies of Ionesco for last 60 years without a break. It becomes the museum of theater of the absurd that is the cradle of modern play. In conclusion, a great many play creators like playwrights, directors and set designers saw the light of day because of small theaters when there were not enough support fund. Their passion and curiosity still make us look forward to emerging of new drama.

• The Journal of the Convergence on Culture Technology
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• v.4 no.3
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• pp.113-125
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• 2018

In recent years, new media art is developing to play its roles as a means of remediation to overturn, reuse, and alter the old technologies rather than technology-dependent art to accept new technologies and use them as artistic tools. Here, the concept of new should mean looking at the old technologies in an indirect way and finding new meanings in them rather than presenting new technologies. The starting point of this study was the concept of spatialization in which the concept of new media art would externalize games from inside to outside the screen in gamification-applied spaces. Participatory new media art adds a platform for viewer's participation and utilizes the entire space of the exhibition hall instead of allowing for simple viewing at the exhibition hall. The study focused on the changes and phenomena in the process of games belonging to the artistic space through the interactivity of gamification. Here, the premise was that gamification meant the "spatialization of games." The study examined several cases of games being altered in the spatialization process to figure out interactivity for viewers and developmental directions for interface design at a gallery.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.6
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• pp.1-15
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• 2015

Changgyeongwon emerged as pleasure grounds following the creation of a museum, zoo and botanical garden in Changgyeonggung Palace during the Japanese colonial period. Pleasure grounds offer space for entertainment and have maintained the image of a paradise apart from reality. This study examined the creation process of pleasure grounds within a royal palace and the following spatial changes. By analyzing the image of Changgyeongwon as an artificial paradise, this study explored its landscape and cultural aspects. Literature reviews on the intention and process showed that the Changgyeongwon pleasure grounds were created as a 'royal garden' for the amusement of Sunjong, as well as 'public pleasure grounds' in the process of colonization. It was one of the first public spaces open to everyone who could afford the entrance fee. The layout of Changgyeongwon was studied by a comparison and analyzation of modern plans and photographs. It was composed of the central museum zone, northern botanical garden zone, and southern zoological garden zone. A conservatory and greenhouse to exhibit and maintain tropical plants were intensively built in the botanical garden zone while an aviary was created on the zoo pond. In the vicinity of the aviary a vivarium was constructed. Museum exhibition facilities included a main building as well as existing buildings, and a western flower garden was created between the buildings. Space for children including a playground and horse-riding course were created in the 1930's. The paradisiacal image and pleasure grounds culture of Changgyeongwon were studied as follows. Firstly, it shows that Changgyeongwon's paradisiacal image where rare animals and exotic plants were open to the public was promoted by the zoo and botanical garden. This led to the creation of new popular leisure activities such as flower appreciation and animal watching. Secondly, Changgyeongwon offered an urban leisure space, symbolizing the 'non-urban nature within the city' where the urban residents could escape from the daily routine. Thirdly, Changgyeongwon was known for its 'fantastic night landscape' by its night opening during the cherry blossom season. This cherry blossom viewing at night sadly degenerated by various shows and drinking, and as a result, an image of a deviant paradise was given to Changgyeongwon. Changgyeongwon contributed to creating a new space with its diverse facilities, and the public embraced the urban culture through experiences of pleasure and entertainment.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.78-103
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• 2020

Transcribed Buddhist sutras generally consist of a frontispiece illustration, sutra illustrations, and sutra text, although some parts may be lost over time. Most transcribed sutras originally include an official record of the transcription (saseonggi) at either the beginning or end of the volume, which document various details of the production, including who commissioned the sutra and when it was transcribed. If such records are unavailable or difficult to decipher, the date of the sutra can only be estimated by comparison to other works with known production dates. This is the case with Korean Treasure #978, the "Transcription of the Avatamsaka Sutra (Zhou Version) in Gold on White Paper" (hereinafter, "Avatamsaka Sutra, Volume 29"), which does not contain any details of its production. Based on formal comparisons, the volume has been estimated to date from the early Joseon period. Important criteria for estimating the production date include the type of calligraphy script and the overall expression of the sutra illustrations. However, these features are missing from some early Joseon sutras, making it difficult to definitively assert which characteristics are representative of the period. Also, transcribed sutras from the late Goryeo period (after 1350) and early Joseon period are often very similar in terms of the expression of the frontispiece illustrations and sutra illustrations. From the late Goryeo period through the early Joseon period, the illustrations of transcribed sutras, which had previously been relatively detailed and realistic, gradually became more formalized and stylized. Significantly, Avatamsaka Sutra, Volume 29 includes illustrations showing both styles of expression (i.e., realistic and formalized). Moreover, the hemp leaf design on the frontispiece and the border around the sutra illustrations are unique features that have never been seen on any other transcribed sutras. Notably, however, Avatamsaka Sutra in Gold on White Paper, Volume 26 (hereinafter, "Avatamsaka Sutra, Volume 26"), which has not yet been introduced in academic research, is complete with frontispiece, sutra illustrations, and sutra text. This sutra is identical to Avatamsaka Sutra, Volume 29 in size, composition, and details, and is thus estimated to have been produced at the same time and by the same patrons. According to the record at the end of the volume, Avatamsaka Sutra, Volume 26 was commissioned in 1348 by Gi Cheol (d. 1365), which corresponds to the estimated date of Avatamsaka Sutra, Volume 29 derived by formal comparison. Based on this new information, Avatamsaka Sutra, Volume 29 was likely produced in the late Goryeo period rather than the early Joseon period, as has previously been presumed. The new study of Avatamsaka Sutra, Volume 26 also seems to confirm that both sutras were transcribed by highly skilled artisans in 1348 of the late Goryeo period, a transitional phase in the expression of sutra illustrations.

• Journal of the Korean Institute of Landscape Architecture
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• v.50 no.1
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• pp.33-52
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• 2022

The History and Culture Park and the Lee Kun-hee Donation Hall will be built in Songhyeon-dong, Seoul. Political games from the Joseon Dynasty to the present greatly influenced the historicity of Songhyeon-dong. However, place analysis was limited to changes in landowners and land uses rather than a historical context. Therefore, this study analyzed the context in which the placeness of Songhyeon-dong changed according to the emergence of cultural hegemony using the perspective of modern cultural geography and comparative history. As a result of the analysis, cultural hegemony in historical transitions, such as Sinocentrism, maritime expansion, civil revolutions, imperialism, nationalism, popular art, and neoliberalism, was found to have created new intellectuals in Bukchon, including Songhyeon-dong, and influenced social systems and spatial policies. In this social relations, the placeness of Songhyeon-dong changed as follows. First, the founding forces of Joseon created pine forests as Bibo Forests to invocate the permanence of the dynasty. In the late Joseon dynasty, it was an era of maritime expansion, and as Joseon's yeonhaeng increased, a garden for the Gyeonghwasejok, who enjoyed the culture of the Qing dynasty, was built. Although pine forests and gardens disappeared due to the development of housing complexes as the population soared during the Japanese colonial era, Cha Gyeong's landscape aesthetics, which harmonized artificial gardens and external nature, are worth reinterpreting in modern times. Second, the wave of modernization created a new school in Bukchon and a boarding house in Songhyeon-dong owned by a pro-Japanese faction. Angukdongcheon-gil, next to Songhyeon-dong, was where thinkers who promoted civil revolution and national self-determination exchanged ideas. Songhyeon-dong, the largest boarding house, served as a residence for students to participate in the March 1st Movement and was the cradle of the resulting culture of student movements. The appearance of the old road is preserved, so it is a significant part of the regeneration of walking in the historic city center, connecting Gwanghwamun-Bukchon-Insadong -Donhwamunro. Third, from the cultural rule of the Government General of Joseon to the Military Government, Songhyeon-dong acted as a passage to western culture with the Joseon Siksan Bank's cultural housing and staff accommodations at the U.S. Embassy. Ancient and contemporary art coexisted in the surrounding area, so the modern and contemporary art market was formed. The Lee Kun-hee Donation Hall is expected to form a cultural belt for citizens with the gallery, Bukchon Hanok Village, the Craft Museum, and the Modern Museum of Art. Discourses and challenges are needed to recreate the place in harmony with the forests, gardens, the street of citizens' birth, history and culture park, the art museum, and the surrounding walking network.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.176-199
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• 2020

In 2018, the National Museum of Korea purchased a pair of Japanese folding screens, respectively entitled Gathering on the Year's First "Day of the Rat" and Boating on the Oi River. Both of these two screens (hereinafter collectively referred to as the "NMK edition") have a gold background that bears the seal and ink inscription of Tosa Mitsuyoshi (1700-1772), who served as edokoro azukari, a painter in the court of Kyoto. According to the seller in New York, the screens were brought from Japan to the United States in the early twentieth century, but no other details are known. Each folding screen has six panels. The screen on the right (i.e., Gathering…) depicts "nenohi no asobi," an annual event conducted on the first "day of the rat" (according to the Asian zodiacal calendar), wherein the Kyoto imperial court ventured to the woods to gather pine seedlings. The left screen (i.e., Boating…) shows three boats traveling down the Oi River in Kyoto, representing the ritual known as "mifune" (literally, "three boats"), which involves three boats representing Chinese classical poetry (kansi), Japanese classical poetry (waka), and Japanese imperial music and dance (gagaku). Notably, these two screens are identical in theme and iconography to two screens with the same respective titles that were commissioned by Emperor Komei (1831-1867) and painted by Ukita Ikkei (1795-1859), an artist of the Yamato-e Revivalist School (fukko yamato-e), now in the collection of Sennyu-ji Temple in Kyoto (hereinafter collectively referred to as the "Sennyu edition"). While both of these themes have been painted independently numerous times, the NMK edition and Sennyu edition are the only known cases of the themes being painted as a single set. According to Diary of Official Business Between the Court and Shogunate (the journal of a court official named Hirohashi Kanetane, 1715-1781), Tosa Mitsuyoshi was commissioned in 1760 to replace the fusuma (rectangular sliding panels) of Tsunegoten, one of the buildings of the Kyoto Imperial Palace, which had been built in 1709. Notably, records show that Tsunegoten once contained a series of fusuma painted by an artist of the Kano school on the themes "Outdoor Procession on a Spring Day" and "Three Boats Cruising on the Oi River." Hence, it seems probable that Tosa Mitsuyoshi was influenced by the theme and iconography of the existing fusuma in producing his own folding screens depicting the court's visit to the forest and a cruise on the Oi River. While the practice of collecting pine seedlings on the first "rat day" of the year was an auspicious event to pray for longevity, the mifune ritual was intended to honor the greatest talents of the three aforementioned arts, which were of crucial importance to the court of Kyoto. Folding screens with such auspicious themes were commonly featured at the ceremony to enthrone the emperor or empress. Significantly, the Diary of Official Business Between the Court and Shogunate also records that Tosa Mitsuyoshi, while working as a court artist, produced two pairs of folding screens for the coronation of Empress Go Sakuramachi (1762-1771), which was held in 1763. Hence, research suggests that the NMK edition is one of the pairs of royal folding screens produced at that time.

• The Journal of Art Theory & Practice
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• no.14
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• pp.53-83
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• 2012

This thesis is a study of artistic measures and climate refugees, based on Hack's World Climate Refugee Camp project. According to Hack, climate refugees appeared with the process of globalization. Hack claimed that the people who put climate refugees in danger are the industrialized nations, and therefore, their rejection of refugees is nonsense. He also stated that the fundamental solution would be the active participation of such nations. Thus, he travels around the world, encouraging participants and globalizing his project. Interestingly, the practical participation method of his climate calamity project is divided into four methods, which are all related to realizing the danger and presenting various solutions. First, the aesthetic of survival: the reason Hack focused on the warming trend and claimed that we have to accept the climate refugees as refugees comes from the thought that we are all potential refugees, and the anxiety that climate refugees may cause war in the end. The solution Hack found for surviving in such a world is to create "refugee camps" to notify people about the seriousness of climate change, and to put the "aesthetic for survival" in action. Second, a relation-oriented relationship: communication between Hack and the participants was done in various ways. They are experiencing a bond and emotions of an interrelationship through their actions in the experimental field, experiencing a new form of art, which they were not able to experience in a museum. Third, a utopian measure: Hack's utopian measure started from the fear of dystopia but Hack still believes that it is not only a dream, but that it can be realized. He claims that even though the start may be feeble, it is possible to rescue children from starvation and to treat climate refugees as proper human in the end, when communication and cooperation is done the right way and properly. Fourth, the aesthetic of global relation, the internet: the new solution Hack is trying on the internet is to make more people participate in his project. It is fate that "human are the wrongdoer and the victim at the same time", but according to Hack's opinion, social disaster can be avoided through effort and it is optimistic that we can give form to the culture revolution we are experiencing now. Hack's project illustrated the importance of daily life, compared to art inside a museum, through active participation of the people and opened up a new method of art through realistic responses to disasters. This is distinctive from the past exhibitions, where artists gave shape and form to ideals and an imaginary world, in that it shows that the artist and audience aim for creating a community-like structure, just like Bourriaud's art method. Hack's project of climate calamity illustrates that installation and action art is not only an art genre which shows installation and activities, but that it can include social and political issues and that it can be completed with the help of participants, consequently becoming a genre of modern art. Hack raises a question about art's identity through various descriptions. Artists as planners, who base their artworks on their subjectivity or the characteristics of a specific period, the people as participants, the duet of art work and play, human and human, and further, human and nature. The practical participation method, as a measure for "disaster", reveals the new art of the 21st century within Hack's artworks. Even though there are several problems with Hack's usage of art as a measure for disaster, it will actively open up a new page for the 21st century's art with the theme of disaster.

• Journal of the Korean Society of Clothing and Textiles
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• v.10 no.1
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• pp.69-84
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• 1986

The objective of this Paper was to identify the relationship between the fine arts, pop art and fashion in relation to its qualities, motifs, and techniques of graffiti and collage. The data of this study were collected from fashion magazines such as French Vogue and American Vogue from 1962 through 1970 and Elle from 1980, post cards and reports of costume exhibition in Victoria & Albert museum in London, and newspaper accounts and magazine accounts. The qualities of pop art were characterized as 1) Popular (designed for mass audience), 2) transient (short term solution), 3) expendable (easily forgotten), 4) low cost, 5) mass produced, 6) young (aimed at youth), 7) witty, 8) sexy and erotic, ana 9) big business. Pop art was rooted in urban environment. According to analysis of the data for this paper, these special aspects of that environment reflected on fashion in the 60's. Mary Quant, Zandra Rhodes, Y.S.L., Rudi Gernreich, Paco Rabanne, Pierre Cardin, Andre Courreges in the 60's and Castelbajac and Sprouse in the 80's showed Pop art dresses, mods fashion inspired by pop artists such as Hamilton, Donaldson, Allen Jones, Jasper Jones, Andy Wahol, and Keith Haring. New erotism of fashion was Produced by Y.S.L.'s see-through blouse, Courreges'a hipster pants, and Gernreich's bikinis which revealed the navel and the breast. T-shirts and dresses ornamented with Pop idols' faces, Pop graffitic motifs, and slogans, as a resistant to society, were begun to popular.